The seminal volume on body painting and adornment by the world’s preeminent photographers of African culture. Following the international masterpiece Africa Adorned, Carol Beckwith and Angela Fisher have focused on the traditions of body painting spanning the vastly unique cultures of the African continent. In a contemporary world so fascinated with tattoos and piercings, Beckwith and Fisher document the origins of these fashionable adornments as passed down through African tribal culture. Featured are portraits of the richly colored, detailed, and exquisite body paintings of the Surma, Karo, Maasai, Himba, and Hamar peoples, among others. Drawing from expeditions in the field and firsthand experiences with African peoples and cultures over the past thirty years and with more than 250 spectacular photographs, this is the definitive work on the expressiveness and imagination of African cultural painting of the human body.

Full of magic and boldness, this unique volume presents dynamic photographs of bodies painted by artists for this project. The inspiration for this project comes from history: human beings have painted their bodies since the beginning of time. Christopher Colombus was faced by natives with painted bodies when he first set foot on American soil. To commemorate the five hundredth anniversary of the explorer's first voyage to the New World, natives of America once again appear with painted bodies. Forty-five Chilean painters, invited to participate in this project, express a diversity of approaches to body art, each one in keeping with their individual character. Some attempt to replicate primitive body painting, while others make full use of modern sophistication. The treatments vary widely, from "dressed" bodies, complete with lace and zippers, to bodies bearing street scenes or faces, to completely abstract paintings highlighting the expressionistic use of the body as canvas. The resulting collaboration is a collection of endlessly varied and thought-provoking photographs of the modern application of an ancient art.

Man is distinguished from animals by a self-retouching impulse, an urge to remake his own body. This book surveys and illustrates the different kinds of body decoration, such as painting, make-up, tattooing, and scarring, which have been practiced all over the world from prehistoric times to the Body Art and cosmetics of today. The social implications are spelled out in detail.

The aim of this book is to provide an account of modernist painting that follows on from the aesthetic theory of Theodor W. Adorno. It offers a materialist account of modernism with detailed discussions of modern aesthetics from Kant to Arthur Danto, Stanley Cavell, and Adorno. It discusses in detail competing accounts of modernism: Clement Greenberg, Michael Fried, Yve-Alain Bois, and Thierry de Duve; and it discusses several painters and artists in detail: Pieter de Hooch, Jackson Pollock, Robert Ryman, Cindy Sherman, and Chaim Soutine. Its central thesis is that modernist painting exemplifies a form of rationality that is an alternative to the instrumental rationality of enlightened modernity. Modernist paintings exemplify how nature and the sociality of meaning can be reconciled.

Mesoamerican communities past and present are characterized by their strong inclination toward color and their expert use of the natural environment to create dyes and paints. In pre-Hispanic times, skin was among the preferred surfaces on which to apply coloring materials. Archaeological research and historical and iconographic evidence show that, in Mesoamerica, the human body—alive or dead—received various treatments and procedures for coloring it. Painting the Skin brings together exciting research on painted skins in Mesoamerica. Chapters explore the materiality, uses, and cultural meanings of the colors applied to a multitude of skins, including bodies, codices made of hide and vegetal paper, and even building “skins.” Contributors offer physicochemical analysis and compare compositions, manufactures, and attached meanings of pigments and colorants across various social and symbolic contexts and registers. They also compare these Mesoamerican colors with those used in other ancient cultures from both the Old and New Worlds. This cross-cultural perspective reveals crucial similarities and differences in the way cultures have painted on skins of all types. Examining color in Mesoamerica broadens understandings of Native religious systems and world views. Tracing the path of color use and meaning from pre-Columbian times to the present allows for the study of the preparation, meanings, social uses, and thousand-year origins of the coloring materials used by today’s Indigenous peoples. Contributors: María Isabel Álvarez Icaza Longoria Christine Andraud Bruno Giovanni Brunetti David Buti Davide Domenici Élodie Dupey García Tatiana Falcón Álvarez Anne Genachte-Le Bail Fabrice Goubard Aymeric Histace Patricia Horcajada Campos Stephen Houston Olivia Kindl Bertrand Lavédrine Linda R. Manzanilla Naim Anne Michelin Costanza Miliani Virgina E. Miller Sélim Natahi Fabien Pottier Patricia Quintana Owen Franco D. Rossi Antonio Sgamellotti Vera Tiesler Aurélie Tournié María Luisa Vázquez de Ágredos Pascual Cristina Vidal Lorenzo

In the long tradition of the archaeology of the eastern Mediterranean bodies have held a prominent role in the form of figurines, frescos, or skeletal remains, and have even been responsible for sparking captivating portrayals of the Mother-Goddess cult, the elegant women of Minoan Crete or the deeds of heroic men. Growing literature on the archaeology and anthropology of the body has raised awareness about the dynamic and multifaceted role of the body in experiencing the world and in the construction, performance and negotiation of social identity. In these 28 thematically arranged papers, specialists in the archaeology of the eastern Mediterranean confront the perceived invisibility of past bodies and ask new research questions. Contributors discuss new and old evidence; they examine how bodies intersect with the material world, and explore the role of body-situated experiences in creating distinct social and other identities. Papers range chronologically from the Palaeolithic to the Early Iron Age and cover the geographical regions of the Aegean, Cyprus and the Near East. They highlight the new possibilities that emerge for the interpretation of the prehistoric eastern Mediterranean through a combined use of body-focused methodological and theoretical perspectives that are nevertheless grounded in the archaeological record.

Revealing Bodies turns to the eighteenth century to ask a question with continuing relevance: what kinds of knowledge condition our understanding of our own bodies? Focusing on the tension between particularity and generality that inheres in intellectual discourse about the body, Revealing Bodies explores the disconnection between the body understood as a general form available to knowledge and the body experienced as particularly one's own. Erin Goss locates this division in contemporary bodily exhibits, such as Gunther von Hagens' Body Worlds, and in eighteenth-century anatomical discourse. Her readings of the corporeal aesthetics of Edmund Burke's Philosophical Enquiry, William Blake's cosmological depiction of the body's origin in such works as The First] Book of Urizen, and Mary Tighe's reflection on the relation between love and the soul in Psyche; or, The Legend of Love demonstrate that the idea of the body that grounds knowledge in an understanding of anatomy emerges not as fact but as fiction. Ultimately, Revealing Bodies describes how thinkers in the eighteenth and nineteenth centuries and bodily exhibitions in the twentieth and twenty-first call upon allegorized figurations of the body to conceal the absence of any other available means to understand that which is uniquely our own: our existence as bodies in the world.

Abstracts : p. 51-60.